Tuya hasta la muerte

I know a lot of folks like this film. I am not saying they're at all wrong...it just didn't work for me. Much of this was because the relationship between Albert and Tessa was just a bit creepy to me...and wasn't always convincing.

When the film begins, Albert (Charles Boyer) is a struggling composer. And, when he goes to visit an old friend and his children, the old man dies...leaving the daughters to stay with their grandfather. But Albert decides to spend more time with them...sort of like a godfather. The problem is that 14 year-old Tessa (Joan Fontaine) is smitten with him and longs to become his lover one day. This is when it got a tad creepy for me. Fortunately, Albert didn't reciprocate. However, after Albert marries, his marriage is a bit rocky...and all the while Tessa is watching him...longingly.

My other problem with this very slickly made film is that I hate the idea of actresses in their mid-20s playing 14 year-olds. This rarely works well and I think an 18, 19 year-old could have pulled it off better. Mind you, Fontaine isn't bad (except when she occasionally stares off into space...something that she did here and in "Rebecca"...and I have no idea why)...in fact she's MUCH more convincing than Ginger Rogers in "The Major and the Minor"...a film than many love but which I think is among Billy Wilder's worst movies because of this.

So, overall you have a very slick love story that many folks love...but I didn't. I didn't hate it...but that's hardly a glowing endorsement. Plus what do I know? The Academy thought Fontaine was just fine....

After more than half a century of being withdrawn from circulation, this ripe example of romantic film making in the best high style that was so typical of Warner Bros' output in the 1940s, has finally been set free from copyright limbo by the TCM Lawyers, following a financial settlement with the heirs of Margaret Kennedy (author of the novel on which the film is based) and Basil Dean (the film director who co-authored the play with her, another key source for the screenplay).

Finally released for television last month (though only in the USA) it will soon make its long awaited debut on DVD. Was it worth the wait? In my opinion, the answer is a resounding yes.

The story (recounted by others here, so I won't weary you with another resume) inspired cast, director and especially the composer, to a rare degree and while the film retains obvious links to its stage origins and has a stylised, often unrealistic look, this approach suits the material eminently.

While the plot revolves around a curious triangle between a neurotic composer (Boyer) a worldly and wealthy woman (Smith) and a teenage girl (Fontaine) it has a subordinate agenda that most reviewers miss entirely.

Few are aware that Erich Wolfgang Korngold campaigned for this film and became closely involved in its production, even to the extent of influencing script development. Originally, he wanted Lewis Dodd to write a simple love song that would eventually develop into a romantic opera, but that idea was dropped, probably due to cost. It was replaced by a climactic transformation into a symphonic poem for mezzo soprano, wordless women's chorus and large orchestra.

Korngold kept the notion of an evolving musical work and made the battle between romanticism and dissonant modernity a key element that parallels the battle for the composer's soul, fought between the simple heart of the constant nymph with the cold, brittle modern woman played by Alexis Smith.

Korngold felt the battle between atonality and dissonance and more direct romanticism very keenly in his own life and relished the chance to create a score where romanticism triumphed.

The musical sequences are outstanding and when Sanger (Montagu Love) or Lewis Dodd (Boyer) play the piano, that is Korngold himself we hear on the soundtrack.

The elaborate Swiss mountain set incorporating the Sanger home was constructed on Warner's largest sound stage and was subsequently redressed to become the Yorkshire moors for the film DEVOTION, a risible biopic of the Brontes, made shortly afterwards and which was originally intended for Fontaine and her sister Olivia De Havilland. In the event, only De Havilland appeared - Fontaine preferred to make JANE EYRE at Fox instead.

CONSTANT NYMPH is enlivened by some familiar faces in the cast, including Peter Lorre, who is largely wasted, and Charles Coburn as an irascible Uncle - a part better suited to Sydney Greenstreet, who presumably wasn't available.

The finale, presenting Korngold's lush symphonic poem TOMORROW, is nicely done and the mezzo soprano seen on stage is actually Clemence Groves, a local Los Angeles concert singer who is also heard on the soundtrack and was the wife of George Groves, a key sound dept technician at Warners.

Those who are eagle-eyed will spot a poster for Korngold's legendary opera Die tote Stadt on the wall of Sanger's study, that is clearly visible in the scene early in the film between Dodd and Sanger, and placed on the wall by the film's associate producer Henry Blanke as a tribute to his friend Korngold, who didn't even notice it until told of the gesture at the film's premiere.

This is a one-of-a kind film that is unlikely to be remade. It's well worth seeing and has a hypnotic appeal that bears repeated viewing.

I saw this film on television when I was in my early teens but unfortunately, due to legal problems over the screenplay rights, it cannot be shown on television or released to video at this time. I have collected several recordings of Korngold's beautiful score including a moving performance of his Tone Poem "Tomorrow". The film's star, Joan Fontaine, has said this is, along with "Letter From An Unknown Woman" (1948) her favorite among her films. Fortunately the film is safeguarded in the Turner vaults and hopefully they will be able to bring this truly wonderful movie back into the public eye in the near future.

In this last and only American version of The Constant Nymph the omnipresent Code had to be dealt with rather delicately in order for this film to get to the big screen. It involves nothing less than a middle aged man falling in love with an underage girl. No wonder the original casting of Errol Flynn was scratched by Jack Warner.

In 1943 as Robert Osborne said rather delicately himself, Flynn was having some 'legal problems'. He sure was, he was facing a charge of statutory rape and was fighting for his career. No wonder he was scratched and Charles Boyer substituted as the pianist/composer. Even without the rape charge I don't Flynn would have been suitable casting in that role in any event.

But it was Joan Fontaine who got the Oscar recognition with a nomination for Best Actress playing a teenager of barely legal age who has a congenital heart problem and who charms Boyer. In the original novel and the play made from it, Boyer's character actually runs off with the Fontaine character.

Some of the same territory was tread on by Billy Wilder in The Major And The Minor, but Ginger Rogers was only pretending to be an adolescent.

Boyer meets Fontaine and her siblings Brenda Marshall, Jean Muir, and Joyce Reynolds at the home of their father Montagu Love. When he dies the girls go to their uncle Charles Coburn to live, except Marshall who marries Peter Lorre. That in itself is something, how often does Peter Lorre get the girl? Boyer marries Coburn's daughter Alexis Smith, but Smith senses something wrong and develops a jealousy of Fontaine. Turns out that while Boyer doesn't do anything, she's right to be suspicious.

The novel by Margaret Kennedy was turned into a play by Basil Dean and debuted in London with no less than Noel Coward and Edna Best in the leads. It ran 148 performances on Broadway in the 1926-27 season and two film versions across the pond were made, a silent with Ivor Novello and another sound version that starred Brian Aherne who would later marry Joan Fontaine. I'd be curious to see how the whole May/September romance was handled there.

Fontaine lost the Oscar that year to newcomer Jennifer Jones who was also playing a juvenile of a different kind in The Song Of Bernadette.

The Constant Nymph is a strange yet curiously winning film. One wonders how the story would be done today in a film.

Based on a novel by Margaret Kennedy, this film The Constant Nymph, starring Charles Boyer and Joan Fontaine, is a typical 1940's studio retelling of a classic style romance, the story of a fragile young girl's infatuation and adoration for an older, attractive musician.

While I think the production values and the sensuality of Letter From An Unknown Woman are superior to this film, this story also manages to captivate the viewer with its own brooding romanticism, solid performances, and beautiful music by Erich Korngold (Amazon sells CDs of this music in several movie soundtrack anthologies). Thankfully my copy of this film is pristine and that improves one's enjoyment of it.

Striking Alexis Smith as the unloved wife delivers a mighty performance, and almost steals the picture from Joan Fontaine and Charles Boyer. The supporting actors are also very good, including Charles Coburn, Peter Lorre, Brenda Marshall, Dame May Witty, and Jean Muir. I admit I was a bit frustrated by the character of the musician played by Charles Boyer. Men who marry women just because they are attracted to them and not because they love them irk me to no end. That was the situation here and it sets the viewer up for a very frustrating experience by the end of the picture.

The Constant Nympth is a decent romantic melodrama, with a very touching conclusion, but it's not outstanding or unforgettable, like Letter From An Unknown Woman surely is.